Classical music: Schubert

Although I had this page here along with those for
Brahms &
Beethoven, the comments were not as
developed. However, among European composers of the 1700s &
1800s, it is to Schubert's music that I find myself most drawn of
late, and so I've set about to rewrite this page. Of course, there
is considerable discussion of Schubert's music elsewhere, and I am
not going to pretend to tackle that body of work with any particular
insight. This page will hopefully be worthwhile for those who have
been interested in my discussions of other music, whether newer or
older, and might be curious about these impressions.

Whereas "controlled" and "concise" seem like
relevant terms for discussing Beethoven and Brahms respectively,
Schubert is expansive and resigned. These days, the only pieces
by Beethoven that I enjoy much are some of the piano sonatas,
particularly the last three, and part of that is the degree of ego
that shines through in his music. It can be hard to take, and in
it, we have the prototype of the composer as "control freak"
which is such a factor for all later composed music, whether to be
embraced or rejected. Schubert was impressed by Beethoven, of
course, and the latter's control of form, but the elements of control
in Schubert's music only extend so far. Some themes seem to come
from elsewhere... imposed on the music, on the composer, and really
a reflection of life. When life is hard for me personally, this
tumultuous interaction with forces beyond the forefront of the music
are what draw me to Schubert, and the way he handles such
interactions.

That Schubert's music is expansive almost goes without saying.
In fact, I'm preparing this page together with my first writeup on
Morton Feldman, and there are
aspects of their music that I find compelling in similar ways.
Schubert's music, with its expansive themes & repeats, glories
in raw sound at times. It's sumptuous music in that sense, beyond
any particular intellectual conception. So good sound quality is
important, and some of the "thinner" older recordings are
hard for me to enjoy as much.

It is Schubert's string music that generally resonates with me
the most. The emotionally searing Quartet in G is the piece I
explicitly think of as the soundtrack to my life sometimes. The
more suspended & sophisticated Quintet is also of great appeal,
as is the more straightforward drama of the Death and the
Maiden Quartet. I very much enjoy this set, by a group of
younger performers, and in modern sound:

They do a particularly fine Death and the Maiden, and
their take on the Quintet (here replacing the Alban Berg Quartet
version, also with Valentin Erben) is also highly appealing. I
don't know if I'll ever hear my perfect version of the G major
Quartet, but this is as good as any available (I think).

It seems almost deceptive to have the above three pieces on one
CD set, in that it makes for only a small slice of a page like this,
a single citation. These are three of my favorite pieces of music,
and the fact that I enjoy all three performances on this one recording
is kind of amazing. I don't want to overstate, because although
I've heard many performances of these works, I certainly haven't
heard them all, but put together like this, they form a singular
& signature group of music in the general field of European
classical music.

Beyond the string music, Schubert's last three piano sonatas
make a fitting parallel with Beethoven's, and are also highly
compelling music on their own terms, despite having somewhat less
color than the quartets. They practically define expansive, but
also exemplify this idea of internal & external themes. A fine
set:

Although there are numerous possibilities for these piano sonatas,
particularly as the final three are so often recorded together,
this is quite a compelling reading: There is a wonderful combination
of lightness & gravity to the tone & fingering. This is
also an intelligent conception that does not dwell in bombast, but
clarifies lines and rewards repeated listening. I continue to find
this music profound & persuasive.

It is truly amazing how much incredible music Schubert wrote in
1827 & 1828, barely 30 years old. The second Piano Trio, in
Eb, also creates a distinctive sound world & impression of its
own, and has grown into something of a favorite over time, although
not at the level of the previously mentioned pieces. A recording:

These are also younger performers, in a clear yet energetic
rendition. I include this item for the Eb Trio; I don't have much
interest in the other items.

My preference in classical music has always run toward the smaller
chamber ensembles, but of course Schubert wrote in various forms.
Despite the acclaim of his Winterreise, I have just never
taken to the lied form. However, I do enjoy the symphonic work
sometimes, so a recording: